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In a continuing attempt to cover more music that would all-too-oft slip through the very large cracks, we slumbering scribes are making an effort to publish short reviews at a greater frequency, thereby shining our very small spotlight on more cool shit. Without further ado, here's some black metal:
Written by: The Administrator
As demonstrated on more occasions than I care to admit, time moves a little differently here in the friendly confines of Ye Olde Sleeping Village. Which is to say: we are often very tardy. In the case of today's mini-review, I'm hitting publish a whole 7 days late, but better than late than never, amiright? In any case, here we are, primed and ready to discuss "Monarch," the latest single from Chicago black metal duo Nirensimt. "Monarch" kicks off in an atmospheric direction, but soon swings into significantly more visceral territory. Even in the more contemplative bits, there's a sense of movement and urgency waiting to flare up. Less "smoldering," more "combustible." I'm a particular fan of the vocals, which are sharply harsh and, during the forthright chorus, surprisingly distinguishable. While black metal often leaves the lyrical content a bit of a mystery, a level beneath the surface that requires further study, "Monarch" presents notable clarity, with the aforementioned chorus having a chanted quality that grounds the more atmospheric moments. I've previously stated that this song "rips," and after keeping it in heavy rotation for some time, I stand by that opinion. "It rips" feels like a cliche descriptor, and often is, but hear me out. "Monarch" clearly contains the elements that qualify a track for ripper status. It is energetic, and pointedly aggressive, and kinetic in a way that maintains attention without shoving it down the listener's throat. It feels expansive without feeling detached. Perhaps most importantly, I have an urge to listen to it again and again. It...rips. This is a stellar track, full stop. While I'm not sure if it serves as a harbinger of a forthcoming full project from Nirensimt, I'm a big fan of where this sound is headed--there's a sharpness and a refinement displayed on "Monarch" that bodes extremely well. Nirensimt - Monarch was released Jan. 16th, 2025. Find it here!
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In a continuing attempt to cover more music that would all-too-oft slip through the very large cracks, we slumbering scribes are making an effort to publish short reviews at a greater frequency, thereby shining our very small spotlight on more cool shit. Without further ado:
Written by: The Administrator
I was lazily enjoying a seasonally appropriate cold snap here at the Sleeping Village. I was avoiding the icy trek out to the promo pit, electing instead to staying inside my warm hovel, listening to classic albums and reveling in nostalgia. I was comfortable in the knowledge that with every hour of inactivity, our humble music review site experiences the slow burn of algorithmic death. But! The self-imposed slumber would not last. Black/death metal (now) trio Ashenheart have dropped a new single. Rise and shine! "Empire of the Necromancers" serves as the first track of Ashenheart's forthcoming EP, Tales from Eternal Dusk, which releases April 18th on cassette via Fiadh Productions. This track feels like a genuine level up, and I say this as a big fan and champion of that which hath come before. While raw and sharp, the songwriting on Faded Gold often felt unhurried, content to let you live in the morose atmosphere. I liked that aesthetic quite a bit, but this new direction is notably menacing and powerful. A little more forthright and pointed. Amanda Kauffman's guitar is immediate, aggressive, and significantly heavier--her riffcraft here bestows this track, and presumably the EP at large, with a sinister weight and an intimidating presence that leans further into death(end) metal territory. The main riff is wicked, simultaneously jagged and blunt, like a medieval mace wrapped in barbed wire for good measure. Alex Loach's vocals are as mean as ever. I mean, positively caustic stuff. Alex has swiftly become one of my favorite vocalists in the throat-ripping-and-rending department, and from that first explosive shriek--"BRING THEM BACK TO LIFE"--it is clear he's only getting more confident. I do enjoy the additional vocal dimension here, with Steve Wiener adding deathy growls underneath, which act as a grounded foil to Alex's harsh delivery. And, speaking of Steve, his contributions--keys and synths, said backing vocals, acoustic guitar, and solo guitar--add a lot to the overall shape of the track. The keys in particular offset the sheer aggression of the guitar very nicely, and add an element of playfulness that keeps the ear on constant high alert. In sum, "Empire of the Necromancers" is a stellar track from a band that is only getting better. It indicates an exciting sonic direction, and I am interested to hear how the combined force of additional punch and additional backing elements will translate across the EP as a whole. Until the full thing drops, I highly recommend streaming "Empire of the Necromancers" and hitting that pre-order here!
In a continuing attempt to cover more music that would all-too-oft slip through the very large cracks, we slumbering scribes are making an effort to publish short reviews at a greater frequency, thereby shining our very small spotlight on more cool shit. Without further ado:
Written by: The Administrator
Given a useful but also obnoxious penchant for hyperactivity, I often crave music that is chaotic enough to drown out the dreadful din of my own brain. It's what draws me to extremity in music, regardless of genre, and when I stumbled upon something truly unhinged, I get excited. Enter Daniel Neel's latest EP, Descent. Brandishing a simultaneously djenty and orchestral brand of progressive metal, Daniel Neel revels in a variety of odd inclusions. Descent is an intense blend of djent, dramatic choral arrangements, gothic ambience, mechanical precision, and a veritable orchestra of electronic instrumentation. Unexpected time signatures? Check. Big chugging riffs? Check? Shuddering and shivering percussion? Check. Cheerful and/or mournful keys? Check. There's so much going on, and it's all happening so fast--it often feels like I've accidentally set my audio player to run at 1.5 speed. In other words, Descent successfully itches the part of my brain that refuses to shut up. It is maximalist to a remarkable degree. I can only imagine Daniel Neel as a mad musical scientist, pouring sonic elements into a comically large Erlenmeyer flask, screaming "More! More!" as the concoction bubbles and glows and overflows. While there is a good balance between the djent and the orchestration, I do feel like a few tracks run a little long for the ideas they present. "Tic," for example, starts with an awesomely frenetic riff that starts to feel stale after some time, and I wish the other elements--the vicious vocals, for example--were given more time in the limelight. But I also appreciate the irony in impressing my own impatience on an already hyperactive project, so take that with a grain of salt. Highlight tracks "Cosmic Waves" and "Harbinger ov the Void" present a tidier balance of component parts. Bottom line: if you're intrigued by chaos, give this one a listen! Daniel Neel - Descent was released Dec. 1st, 2025. Find it here! 
Written by: The Administrator
If MEGAFAUNA doesn't represent the perfect antithesis of easy listening, I shudder to think what else could have possibly earned that designation. Indeed, in my review of MEGAFAUNA's unsettling and engrossing Venator, released back in April of 2024, I wrote that the project is "not a light nor carefree listen." I also called it "unabashedly weird and intense" and referenced both an "uncomfortable urgency" and a tendency to nail a sense of "terrible disassociation that paradoxically makes you hyperaware of your physicality." In short, I liked Venator very much, and found MEGAFAUNA's articulation of anxiety, fear, paranoia, and depression to be quite poignant. I Owe This Land a Body similarly presents an intense soundscape, leaning into a lonely and foreboding eeriness. This is, after all, an album explicitly exploring the notion that "how dying is the last decent thing we can do." A sense of profound despair implicitly and intentionally seeps forth from the Megafauna corpus, and this latest isn't exactly a cheery listen. With that said, I Owe This Land a Body is less immediately jarring than Venator, and even manages to undercut its own sense of unease with some unexpected bright spots.
In a continuing attempt to cover more music that would all-too-oft slip through the very large cracks, we slumbering scribes are making an effort to publish short reviews at a greater frequency, thereby shining our very small spotlight on more cool shit. Without further ado:
Written by: The Administrator
I'm an established fan of redveil--his 2023 EP playing w/ fire was one of my favorites of that year. As such, I've been eagerly awaiting news of a new project from the redveil camp, and while 2024 didn't see a full project, he did drop a couple of singles, with this latest, "what3ver," materializing on the very last day of the year. This is an excellent track, both a display of redveil's skill as a rapper/producer, and highly re-listenable to boot. The hook is earwormy in a way that feels more subtle than immediate. The clean production is bright and crisp, almost glowing. Warm and immersive stuff, with the eventual piano adding a nice flourish. Meanwhile, his lyrics paint a short and sweet narrative of recognizable unrequited love. I love the second verse where he discusses his casket outfit in detail: "I can get it all dry-cleaned quick, I just need you to decide/Maybe I'll be satisfactory if I'm easy on your eyes." I feel like I saw more that a few reviews and articles comparing his cadence and lyrical approach on 2022's Learn 2 Swim to Earl Sweatshirt, which felt like a fair comparison for that project. Here, several years later, there's a similar focus on impactful word choice, but "what3ver" feels first and foremost like a redveil song. As a rapper, he has a distinct identity, which bodes well. I feel like in a few years we'll be saying that up-and-coming rappers take influence from redveil. Anyways, yeah. This is great. Fingers crossed that "what3ver" serves as the first salvo of an album cycle, or at least an indication that redveil is in the mood to release music. I'm hopeful that the fireworks on the outro signal the beginning of something anew. In any case, 2025 would be the perfect time for new redveil. redveil - "what3ver" was released Dec. 31st, 2025. Find it here and listen below! Written by: The Administrator  A music video premiere is a fairly infrequent affair at ye olde Sleeping Village, but not quite infrequent enough to consider "rare." Perhaps "uncommon" would be a better measure. In any case, it's been a while since we ran one of these, and the theater required significant sprucing up before we felt comfortable allowing you fine folks inside. With the cobwebs and dust bunnies banished, then, the show is ready to begin. We'll dim the lights. Make yourself comfortable.
Today's feature presentation comes to us from Dublin, Ireland's Fós. The forthcoming Níl mo chroí in aon rud, out Jan. 27th, demonstrates a haunting blend of traditional Irish folk singing with the sheer droning heft of doom and sludge. It's a fusion that feels as natural as it is engaging, and "Bádaí na Scadán" serves as a perfect showcase of Fós's uniquely eerie and captivating aesthetic. Give "Bádaí na Scadán" a listen (and a watch!) below, and we'll meet you on the other side. 
Written by: The Administrator
A premiere for Spectrum, the debut album from Am I In Trouble? Hosted at Sleeping Village Reviews?! No need, dear reader, to feign shock; this was always inevitable. Less a question of "if," and rather a question of "when?" I'm pleased to announce that the wait is over. The time is now. If the name Am I in Trouble? doesn't ring a bell, I recommend checking out our fairly extensive catalog of coverage. During the extensive buildup to the Jan. 3rd drop, we've covered three tracks available pre-release: check out writeups for Red, White, and Black. A common theme of said reviews is the clarity of Am I in Trouble's varied and vibrant songwriting in the pursuit of an aesthetic homage to 90's Scandinavian avant-garde black metal oddity. While the aforementioned songs are quite distinct from a sonic perspective, they share a common tendency to resist stagnation. The Am I in Trouble? playbook emphasizes constant motion and evolution, which allows for the dynamic juxtaposition of some remarkable extremes. Going from gentle to aggressive and back again is hardly a new trick in the world of metal, but multi-instrumentalist mastermind Steve Wiener wields a uniquely honed sense of unpredictability. This results in some incredibly flexible songcraft. With that said, a distinct and uncanny cohesion pervades. We get more in-depth below, but lest we lose sight of the plot, we slumbering scribes are excited to premiere (in full!) the excellent Spectrum a few days prior to release. Give it a well-deserved listen! We'll meet you, as always, on the other side. |
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